马哈拉：城乡生活.威尼斯——Christ & Gantenbein事务所
mahalla: urban rural living . venice——Christ & Gantenbein

由专筑网亚森君，小R编译

“马哈拉：城乡生活”由Emanuel Christ和Christoph Gantenbein策划，作为他们在苏黎世联邦理工学院研究项目的一部分，由乌兹别克斯坦共和国文化部艺术和文化发展基金会委托。该项目与塔什干的CCA 实验室共同合作，旨在回应第17届国际建筑双年展的主题：“我们如何共同生活？”

Curated by Emanuel Christ and Christoph Gantenbein as part of their research program at ETH Zurich, “MAHALLA: Urban Rural Living” was commissioned by the Art and Culture Development Foundation under the Ministry of Culture of the Republic of Uzbekistan. It was developed in collaboration with Tashkent’s CCA LAB and addresses the theme of the 17th International Architecture Biennial: “How will we live together?”.

Mahallas不仅是一种城市组织形式，同时也是住房解决方案、强力的文化中心、有弹性的自治机构。乌兹别克斯坦目前有1万多个马哈拉组织，每个组织有150至2 000名居民。虽然这一组织形式受到追求城乡生活方式人们的追捧，但由于严重的经济压力、不断变化的生活习惯以及缺乏现代基础设施，马哈拉这一组织形式正逐渐被新的住房形式所取代。

当无特征化的大都市的生态系统达到极限时，寻找未来都市的替代方案，将是亟待解决的重要议题。这些社区的社会组织及其不同的建筑形式，如低层/高密度结构，能否为城市提供一个可持续的生态模式？

Mahallas are a form of urban organisation that is simultaneously a housing solution, a powerful cultural center and a resilient self-governing body. There are currently over 10,000 mahallas in Uzbekistan, each with 150 to 2,000 inhabitants. Due to serious economic pressure, changing habits, and their lack of modern infrastructure, mahallas are slowly being replaced by new forms of housing, even though they remain popular among people seeking an urban-rural lifestyle.
At a time when the ecosystem of the anonymous megacity is literally reaching its limits, the need for alternatives is greater than ever. Can the social organization of these neighbourhoods and their various architectural formations as low-rise/high-density structures offer urbanity a sustainable and ecological model?

通过该项研究，展览提供了一个兼具科学性与艺术性的视角，并经由三类1:1比例的模型进行阐释：一座马拉哈建筑的模型，占据了位于军械库Tese Cinquecentesche的Quarta Tesa整个空间；西班牙电影制作人Carlos Casas通过双声速技术录制了来自马哈拉斯的声音，表达了对空间的无形占据；以及荷兰摄影师Bas Princen，通过照片展现了马哈拉建筑的空间片段。

Drawing on this research, the exhibition offers a scientific investigation but also an artistic statement expressed through three different types of appropriation in a 1:1 scale: a model of a mahalla house occupying the whole space of the Quarta Tesa at the Tese Cinquecentesche in the Arsenale; an invisible appropriation of the space with sounds from the mahallas transmitted through ambisonic technology recorded by Spanish film-maker Carlos Casas; and extracts of mahalla houses as fragments of spaces represented by photographs by Dutch photographer Bas Princen.

在乌兹别克斯坦艺术家Saodat Ismailova的指导下，CCA实验室的学生们深入参与了展览家具的研究和创作：一件Tapchan，这是乌兹别克文化的象征性物品，对任何庭院住宅的聚会都至关重要。除此之外，CCA实验室的参与者Munis Juraeva创作了一个传统刺绣的当代诠释，由工匠Madina Kasimabeva完成。总体而言，此装置是一个开放式的三维拼贴，邀请人们去思考共同生活的新可能。

Students of the CCA Lab, under the guidance of Uzbek artist Saodat Ismailova, were deeply involved in the research and creation of a furniture piece for the exhibition: a tapchan, an emblematic item of Uzbek culture so vital to gatherings in any courtyard house. On top of this, CCA Lab participant Munis Juraeva, created a contemporary interpretation of traditional embroideries, which was executed by artisan Madina Kasimabeva. As a whole, this installation is an open-ended three-dimensional collage that invites us to consider new possibilities for living together.

整个展览将通过一个应用程序完成，用户可以体验由音景和图像辅助形成的建筑空间。另外的内容将在洪堡图书出版社出版的特别版中提供，这是一个经过精心设计的文件夹，里面有Bas Princen的一系列印刷品和Carlos Casas的唱片。

The exhibition will be completed by an app allowing users to experience the architecture suggested by the soundscapes and imagery. Additional content will be provided in a special edition published by Humboldt Books, a carefully designed folder that features a series of prints by Bas Princen and a record by Carlos Casas.